This fine gilded carriage of Viennese workmanship is indeed a masterpiece of world art. Its technical features and artistic treatment are characteristic of the ceremonial equipages of the 1740s. The carriage is a two-seater. The body narrows towards the base and the lower section of the back wall curves elegantly. There are three windows on the front and side walls. The windows and upper half of the doors with a figured top section contain plate glass. The body has a beautiful silhouette. The carriage is decorated with gilded wood carving in the unrivalled Rococo style.

The restless and rather rich carving нерфе gives the body a special elegance contains some fine carved ornament and elaborate high-relief compositions which occasionally include sculpture in the round. Foliate motifs, whimsical scrolls and strangely curved shells blend well with the sculpture in the form of frolicking putti and semi-nude male and  female allegorical figures. The other compositions depict motifs from classical mythology, allegorical figures, and historical events of the past.

Carving covers the whole of the front of the undercarriage irrespective of its construction. A dense stream of rising curly scrolls twines round the frame and axle-pivot. The allegorical figures in the foliate pattern have a noble, if somewhat stiffy elegant modelling  and a graphic purity of line. The carved décor on the back of the undercarriage is based compositionally on a total absence of straight lines. The large scrolls and putti are arranged freely all over the frame. The carriage wheels are painted green and covered with gilded relief carving. An important feature of the carriage’s artistic treatment is the bronze ornament: the thickly gilded and well chased profiled plates which cover the springs, and the decorative vases and nails with round figured heads on the roof. Essential detail, such as the cast and buckles and the handles shaped like rocaille scrolls or entwined with realistic looking branches, are also made of bronze gilt. The carriage’s colour scheme blends well with the green velvet inside the body and on the crest.

The somewhat excessive ornament and richness of the decorative forms, not usually found in the works of Viennese carriage-builders of this period, can be explained by the fact that the carriage was ordered for Elizaveta Petrovna’s coronation. In 1744, artist Grigory Kachalov made an engraving ‘Empress entering the Kremlin for Coronation’ which testified that the coupé had taken part in the coronation procession.